In September last year, Anglo- Japanese painter Peter McDonald won the U.K.’s £25,000 John Moores prize for contemporary painting with a work, “Fontana,” that depicted in simplistic shapes an artist thrusting a knife into a circular canvas. Or it could be someone attacking a giant eye. Or perhaps an update on Miro’s floating blobs. And, quite probably, all three.
The painting’s title refers to the Argentine-Italian artist Lucio Fontana, who in the late 1950s started slashing into canvases. For a century that saw painting dismantle itself — proceeding from 19th century Impressionism’s hazy concentration on light to Abstract Expressionism’s abandonment of recognizable subjects through to the white canvases of Robert Ryman from the ’60s — Fontana’s action was the final frontier, a moment where the painter said, “Let’s just move beyond the surface altogether.” McDonald’s work, while capturing such a historic moment, also visually tracks this evolution of 20th-century painting.
Unable to view this article?
This could be due to a conflict with your ad-blocking or security software.
Please add japantimes.co.jp and piano.io to your list of allowed sites.
If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.
We humbly apologize for the inconvenience.